Am 29.05.2015 um 10:29 schrieb Urs Liska: > This is correct. From my own experience and comments by others most > (major) publishers require you to submit one of the following:; > - Finale files > - Sibelius files > - SCORE files > - ((((PDF)))) > >> How can this be? > > Good question. > Has to be put also the other way round: How can it be that practically > noone accepts LilyPond yet? It can't be the text approach alone, > otherwise they wouldn't use SCORE (and sometimes even Amadeus which is > very similar to LilyPond in a way).
Well we shouldn't forget that you don't need only a program that generates a good output. You also need employees who can get all the benefits of that program. The learning curve is a hurdle. The other programs are available, the staff is experienced. If they have to issue a new version in a different paper format (e.g. European vs. American market) they have to modify the files. If they change the format of the copyright or any corporate identity they have to modify. That's impossible with PDF, so it would be surprise if they accept them. But if you have - employees experienced with a limited set of programs - tools and libraries built in-house for that programs - work instructions for specific jobs to make modifications then it can be an additional risk to add a new program. We love Lilypond & Frescobaldi but it can be a challenge to convince publishers tat just got a dozen of well typeset scores. They must learn that their business get benefits. It could help if the experiences that Urs learned with "Das Trunkne Lied" is consolidated and documented. The approach to divers the job, edit only a chunk at a time and so on can reduce the time effort that's necessary to issue the scores. Publishers make that job to pay the salary at the end of the month. They also issue scores of wonderful music to enjoy use. But the employees stay there because the get money. Best regards Helge -- PGP Fingerprint: EDCE F8C8 B727 6CC5 7006 05C1 BD3F EADC 8922 1F61
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